UNFORTUNATELY THE FIRST PART OF THIS TALK HAS NOT BEEN CAPTURED BY OUR CAMERA AND WE ONLY HAVE THE Q@A SESSION RECORDED. SORRY FOR THE INCONVENIENCE!
Music as a non-dual happening is free of any aspects of time. For lack of a better word, it can be described as timeless. Timelessness in music dissolves any experience of duration, temporal length, tempo, or velocity as well as any distinguishable sense of past, present and future. At the same time, sound (together with silence), as the core medium of what we call “music,” can only present itself within the dual boundaries of physical time. Yet, paradoxically, the multiplicities of all appearing elements in music, such as the beginning, the climax and the end, melody, harmony, etc. are indistinguishably merged into “one.” This presentation probes into the dual and non-dual fundamentals of music (sound) as it relates to the experiences of time as well as timelessness. It is important to recognize that there is a conscious experience of the nature of sound itself although today, we face an unprecedented confusion of how “music” is and can be perceived and consciously experienced. Becoming aware of how different current modes of perception/experience can significantly help to find a much deeper connection with music. Currently, music is mostly treated and presented as “sound appearing” – not “sound being.” Through its tremendously sensual and emotional capacity, sound as appearance can easily seduce us into the illusion of “us being in the present moment” while its original source actually remains unaware. The chosen mode of perception/experience of music can either enable or disable the conditions necessary for music as a non-dual happening to emerge."
Tom Zelle serves as Music Director of the North Park University Orchestra and as professor of music in Chicago. He is also the Music Director of the Chicago Sauganash Community Church. Mr. Zelle credits his artistic influences to his studies with Sergiu Celibidache and Ramesh Balsekar. This led him to receive his musical training in Germany and the United States, specialising in non-dual and phenomenological applications to the classic art of music practice and orchestral/ensemble conducting. Privately, he coaches and teaches professional musicians in the art of practice, performance and general musicianship while intentionally applying his research and experiences in Consciousness Studies to his work.